Funny Poems For Children
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Funny Poems For Children Biography
A limerick is a form of poetry in five-line, predominantly anapestic[1] meter with a strict rhyme scheme (AABBA), which is sometimes obscene with humorous intent.[2] The third and fourth lines are usually shorter than the other three. The following example is a limerick of unknown origin:
The limerick packs laughs anatomical
Into space that is quite economical.
But the good ones I've seen
So seldom are clean
And the clean ones so seldom are comical.[3]
The form appeared in England in the early years of the 18th century.[4] It was popularized by Edward Lear in the 19th century,[5] although he did not use the term. Gershon Legman, who compiled the largest and most scholarly anthology, held that the true limerick as a folk form is always obscene, and cites similar opinions by Arnold Bennett and George Bernard Shaw,[6] describing the clean limerick as a "periodic fad and object of magazine contests, rarely rising above mediocrity". From a folkloric point of view, the form is essentially transgressive; violation of taboo is part of its function. Lear is unusual in his creative use of the form, satirising without overt violation.
Form
An illustration of the fable of Hercules and the Wagoner by Walter Crane in the limerick collection "Baby's Own Aesop" (1887)
The standard form of a limerick is a stanza of five lines, with the first, second and fifth rhyming with one another and having three feet of three syllables each; and the shorter third and fourth lines also rhyming with each other, but having only two feet of three syllables. The defining "foot" of a limerick's meter is usually the anapaest, (ta-ta-TUM), but catalexis (missing a weak syllable at the beginning of a line) and extra-syllable rhyme (which adds an extra unstressed syllable) can make limericks appear amphibrachic (ta-TUM-ta).
The first line traditionally introduces a person and a place, with the place appearing at the end of the first line and establishing the rhyme scheme for the second and fifth lines. In early limericks, the last line was often essentially a repeat of the first line, although this is no longer customary.
Within the genre, ordinary speech stress is often distorted in the first line, and may be regarded as a feature of the form: "There was a young man from the coast;" "There once was a girl from Detroit…" Legman takes this as a convention whereby prosody is violated simultaneously with propriety.[7] Exploitation of geographical names, especially exotic ones, is also common, and has been seen as invoking memories of geography lessons in order to subvert the decorum taught in the schoolroom; Legman finds that the exchange of limericks is almost exclusive to comparatively well-educated males, women figuring in limericks almost exclusively as "villains or victims". The most prized limericks incorporate a kind of twist, which may be revealed in the final line or lie in the way the rhymes are often intentionally tortured, or both. Many limericks show some form of internal rhyme, alliteration or assonance, or some element of word play. Verses in limerick form are sometimes combined with a refrain to form a limerick song, a traditional humorous drinking song often with obscene verses.
David Abercrombie, a phonetician, takes a different view of the limerick, and one which seems to accord better with the form.[8] It is this: Lines one, two, and five have three feet, that is to say three stressed syllables, while lines three and four have two stressed syllables. The number and placement of the unstressed syllables is rather flexible. There is at least one unstressed syllable between the stresses but there may be more – as long as there are not so many as to make it impossible to keep the equal spacing of the stresses.
Etymology
The origin of the name limerick for this type of poem is debated. As of several years ago, its usage was first documented in England in 1898 (New English Dictionary) and in the United States in 1902, but in recent years[when?] several earlier uses have been documented. The name is generally taken to be a reference to the City or County of Limerick in Ireland[9][10] sometimes particularly to the Maigue Poets, and may derive from an earlier form of nonsense verse parlour game that traditionally included a refrain that included "Will [or won't] you come (up) to Limerick?"[11]
The earliest known use of the term limerick for this type of poem is an 1880 reference, in a Saint John, New Brunswick newspaper, to an apparently well-known tune,[12]
There was a young rustic named Mallory,
who drew but a very small salary.
When he went to the show,
his purse made him go
to a seat in the uppermost gallery.
Tune: Won't you come to Limerick.[13]
Edward Lear[edit]
A Book of Nonsense (ca. 1875 James Miller edition) by Edward Lear
The limerick form was popularized by Edward Lear in his first Book of Nonsense (1846) and a later work, More Nonsense, Pictures, Rhymes, Botany, etc. (1872). Lear wrote 212 limericks, mostly considered nonsense literature. It was customary at the time for limericks to accompany an absurd illustration of the same subject, and for the final line of the limerick to be a variant of the first line ending in the same word, but with slight differences that create a nonsensical, circular effect. The humor is not in the "punch line" ending but rather in the tension between meaning and its lack.[14]
The following is an example of one of Edward Lear's limericks.
There was a Young Person of Smyrna
Whose grandmother threatened to burn her.
But she seized on the cat,
and said 'Granny, burn that!
You incongruous old woman of Smyrna!'
Lear's limericks were often typeset in three or four lines, according to the space available under the accompanying picture.
Variations
The idiosyncratic link between spelling and pronunciation in the English language is explored in this Scottish example (where the name Menzies is pronounced /ˈmɪŋɪs/ ming-iss).
A lively young damsel named Menzies
Inquired: "Do you know what this thenzies?"
Her aunt, with a gasp,
Replied: "It's a wasp,
And you're holding the end where the stenzies."[15]
The limerick form is so well known that it can be parodied in fairly subtle ways. These parodies are sometimes called anti-limericks. The following example is of unknown origin:
There was a young man of Japan
Whose limericks never would scan.
When asked why this was,
He replied "It's because
I always try to fit as many syllables into the last line as ever I possibly can."
Other anti-limericks deliberately break the rhyme scheme, like the following example, attributed to W.S. Gilbert, in a parody of a limerick by Lear:
There was an old man of St. Bees,
Who was stung in the arm by a wasp,
When asked, "Does it hurt?"
He replied, "No, it doesn't,
I'm so glad that it wasn't a hornet."[16][17]
Comedian John Clarke has also parodied Lear's style:
There was an old man with a beard,
A funny old man with a beard
He had a big beard
A great big old beard
That amusing old man with a beard.[18]
Web Cartoonist Zach Weiner, author of SMBC-Comics, wrote a reversed limerick that makes sense read top-to-bottom, and vice versa.
This limerick goes in reverse
Unless I'm remiss
The neat thing is this:
If you start from the bottom-most verse
This limerick's not any worse[19]
The British wordplay and recreational mathematics expert Leigh Mercer (1893–1977) devised the following mathematical limerick:
{\frac {12+144+20+3{\sqrt {4}}}{7}}+(5\times 11)=9^{2}+0
This is read as follows:
A dozen, a gross, and a score
Plus three times the square root of four
Divided by seven
Plus five times eleven
Is nine squared and not a bit more.
The limerick packs laughs anatomical
Into space that is quite economical.
But the good ones I've seen
So seldom are clean
And the clean ones so seldom are comical.[3]
The form appeared in England in the early years of the 18th century.[4] It was popularized by Edward Lear in the 19th century,[5] although he did not use the term. Gershon Legman, who compiled the largest and most scholarly anthology, held that the true limerick as a folk form is always obscene, and cites similar opinions by Arnold Bennett and George Bernard Shaw,[6] describing the clean limerick as a "periodic fad and object of magazine contests, rarely rising above mediocrity". From a folkloric point of view, the form is essentially transgressive; violation of taboo is part of its function. Lear is unusual in his creative use of the form, satirising without overt violation.
Form
An illustration of the fable of Hercules and the Wagoner by Walter Crane in the limerick collection "Baby's Own Aesop" (1887)
The standard form of a limerick is a stanza of five lines, with the first, second and fifth rhyming with one another and having three feet of three syllables each; and the shorter third and fourth lines also rhyming with each other, but having only two feet of three syllables. The defining "foot" of a limerick's meter is usually the anapaest, (ta-ta-TUM), but catalexis (missing a weak syllable at the beginning of a line) and extra-syllable rhyme (which adds an extra unstressed syllable) can make limericks appear amphibrachic (ta-TUM-ta).
The first line traditionally introduces a person and a place, with the place appearing at the end of the first line and establishing the rhyme scheme for the second and fifth lines. In early limericks, the last line was often essentially a repeat of the first line, although this is no longer customary.
Within the genre, ordinary speech stress is often distorted in the first line, and may be regarded as a feature of the form: "There was a young man from the coast;" "There once was a girl from Detroit…" Legman takes this as a convention whereby prosody is violated simultaneously with propriety.[7] Exploitation of geographical names, especially exotic ones, is also common, and has been seen as invoking memories of geography lessons in order to subvert the decorum taught in the schoolroom; Legman finds that the exchange of limericks is almost exclusive to comparatively well-educated males, women figuring in limericks almost exclusively as "villains or victims". The most prized limericks incorporate a kind of twist, which may be revealed in the final line or lie in the way the rhymes are often intentionally tortured, or both. Many limericks show some form of internal rhyme, alliteration or assonance, or some element of word play. Verses in limerick form are sometimes combined with a refrain to form a limerick song, a traditional humorous drinking song often with obscene verses.
David Abercrombie, a phonetician, takes a different view of the limerick, and one which seems to accord better with the form.[8] It is this: Lines one, two, and five have three feet, that is to say three stressed syllables, while lines three and four have two stressed syllables. The number and placement of the unstressed syllables is rather flexible. There is at least one unstressed syllable between the stresses but there may be more – as long as there are not so many as to make it impossible to keep the equal spacing of the stresses.
Etymology
The origin of the name limerick for this type of poem is debated. As of several years ago, its usage was first documented in England in 1898 (New English Dictionary) and in the United States in 1902, but in recent years[when?] several earlier uses have been documented. The name is generally taken to be a reference to the City or County of Limerick in Ireland[9][10] sometimes particularly to the Maigue Poets, and may derive from an earlier form of nonsense verse parlour game that traditionally included a refrain that included "Will [or won't] you come (up) to Limerick?"[11]
The earliest known use of the term limerick for this type of poem is an 1880 reference, in a Saint John, New Brunswick newspaper, to an apparently well-known tune,[12]
There was a young rustic named Mallory,
who drew but a very small salary.
When he went to the show,
his purse made him go
to a seat in the uppermost gallery.
Tune: Won't you come to Limerick.[13]
Edward Lear[edit]
A Book of Nonsense (ca. 1875 James Miller edition) by Edward Lear
The limerick form was popularized by Edward Lear in his first Book of Nonsense (1846) and a later work, More Nonsense, Pictures, Rhymes, Botany, etc. (1872). Lear wrote 212 limericks, mostly considered nonsense literature. It was customary at the time for limericks to accompany an absurd illustration of the same subject, and for the final line of the limerick to be a variant of the first line ending in the same word, but with slight differences that create a nonsensical, circular effect. The humor is not in the "punch line" ending but rather in the tension between meaning and its lack.[14]
The following is an example of one of Edward Lear's limericks.
There was a Young Person of Smyrna
Whose grandmother threatened to burn her.
But she seized on the cat,
and said 'Granny, burn that!
You incongruous old woman of Smyrna!'
Lear's limericks were often typeset in three or four lines, according to the space available under the accompanying picture.
Variations
The idiosyncratic link between spelling and pronunciation in the English language is explored in this Scottish example (where the name Menzies is pronounced /ˈmɪŋɪs/ ming-iss).
A lively young damsel named Menzies
Inquired: "Do you know what this thenzies?"
Her aunt, with a gasp,
Replied: "It's a wasp,
And you're holding the end where the stenzies."[15]
The limerick form is so well known that it can be parodied in fairly subtle ways. These parodies are sometimes called anti-limericks. The following example is of unknown origin:
There was a young man of Japan
Whose limericks never would scan.
When asked why this was,
He replied "It's because
I always try to fit as many syllables into the last line as ever I possibly can."
Other anti-limericks deliberately break the rhyme scheme, like the following example, attributed to W.S. Gilbert, in a parody of a limerick by Lear:
There was an old man of St. Bees,
Who was stung in the arm by a wasp,
When asked, "Does it hurt?"
He replied, "No, it doesn't,
I'm so glad that it wasn't a hornet."[16][17]
Comedian John Clarke has also parodied Lear's style:
There was an old man with a beard,
A funny old man with a beard
He had a big beard
A great big old beard
That amusing old man with a beard.[18]
Web Cartoonist Zach Weiner, author of SMBC-Comics, wrote a reversed limerick that makes sense read top-to-bottom, and vice versa.
This limerick goes in reverse
Unless I'm remiss
The neat thing is this:
If you start from the bottom-most verse
This limerick's not any worse[19]
The British wordplay and recreational mathematics expert Leigh Mercer (1893–1977) devised the following mathematical limerick:
{\frac {12+144+20+3{\sqrt {4}}}{7}}+(5\times 11)=9^{2}+0
This is read as follows:
A dozen, a gross, and a score
Plus three times the square root of four
Divided by seven
Plus five times eleven
Is nine squared and not a bit more.
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